Dafydd’s voice

So, one of the reasons I agreed to do National Theatre Connections is that I’m not young anymore. I’ve got grey hair, or at least, flecked: a definite badger quality to my mane. And I find myself enjoying trips to John Lewis and comparing sofas. It’s a sorry state of affairs and I think as a writer you need to try, at least, to keep a youthful sense of play. Not spend your Saturdays testing the quality of bounce on a settee.

I’ve worked quite a bit with young people. I generally find their response to my work the most useful: articulate, honest, politicised, yet devoid of personal agenda. They often bring to my creative practice an insightful, queerer perspective of the world.

In researching my topic I worked with two extraordinary groups: drama students at Ysgol Gyfun Cwm Rhymni (Rhymney Valley Comprehensive School) and the young people at Mess up the Mess Theatre Company. After the inevitable theatre games where I desperately tried to convince them that I was worthy of their time whilst pretending to be a chicken, we discussed various topics, ranging from what they were most scared of to how it was to grow up bi-lingual.

Their answers were extraordinary: honest, hilarious, revealing and touching. In fact, everything I would like my writing to be. I might as well give up now, I thought; but I couldn’t, I had to write a play.

So it got me thinking (à la Carrie Bradshaw): they reminded me that growing up as a Welsh speaker I have had access to an extremely rich cultural heritage. Some of it seems awe-inspiring and incredibly profound: its literature, its music, for example. Some of it appears just plain bonkers, invented by a man on laudanum. Every year in an Eisteddfod we award a chair to an exceptionally gifted Welsh poet (awe-inspiring/profound). Surrounded by people dressed as druids and flower girls, he/she sits in the chair, over-seen by an Arch-druid brandishing a sword (bonkers). I think it’s rather wonderful. Of course I do – it’s über-camp and I love a man in a frock – and actually, this distinction of profundity vs. bonkers(ness) entirely depends on your perspective on things: they are not necessarily mutually exclusive or oppositional phenomena. When that Arch-druid waves his sword above the poet’s head, why can’t he be a little bit of both?

The fight to retain these traditions, however, often feels oppositional. Growing up in a marginalised culture I frequently felt like I was celebrating what makes us different in opposition to a dominant culture, in order to prevent us from becoming subsumed, diminished or worse, disappear altogether. There is a danger to such oppositional thinking, however. I became interested in the tension between promoting difference as a positive act, and the darker extreme of this: the tipping point between nationalism and a more authoritarian regime.

So here was my theme. I wrote a play about a group of young people who are chosen to sing the village anthem at the Mayday festivities. They rehearse together in a paddock on a glorious summer’s day, only to discover they’ve been chosen for a far darker purpose. It sounds terribly bleak, and it is. But hopefully, it’s very funny too. Up to a point, before it tips. Plus everyone gets to sing, so that’s OK; and there’s a boy in a Stegosaurus costume, which should hopefully ease the pain.

Now, before I have the Arch-druid at my door waving his sword around, let me be absolutely explicit: Welsh-language culture is diverse, multi-vocal and, mostly, something I celebrate; so I haven’t written this play to suggest that it’s authoritarian. Rather, Heritage is about how individuals, in any culture, have the potential to manipulate tradition for fascist gain. A Morris dance, Ceilidh or Michael Flatley could be lethal in the wrong hands, you know what I mean? It’s about the nuances of power within a group and how we often desire our own submission. It’s about questioning the way we protect our differences.

In Wales we have two national theatres: Theatre Genedlaethol Cymru and National Theatre Wales, who both interrogate and produce ‘Welsh’ work in the Welsh and English language, respectively, though their linguistic communities overlap. I have written for the two companies: ‘Llwyth’ and ‘The Village Social’ both investigate the idea of cultural boundaries. It seems significant that I’m writing about similar themes for the Royal National Theatre because the act itself perhaps embodies my ongoing artistic concern – to probe cultural categories – through ‘performing’ as a writer for these different ‘National’ theatres. Hopefully these performances open out the dialogue to interrogate what and how such ‘national’ boundaries come to signify. I really hope that groups in Wales are as inspired as I was to participate in Connections, so that we can all collectively continue to perform across these boundaries, make connections, celebrate and recognise our differences in critically inclusive ways.

Finally, and importantly, Heritage is as much about being young as it is about nationalism: what it is to try and find your own place in the world when you’re born into a specific cultural heritage. The dinosaur boy in my play comes to a sticky end. The boy I knew in school who was obsessed with dinosaurs grew up to become a wonderful paleontologist. He stuck to his (peaceful) guns, and created a successful future through interrogating the past. I think there’s a metaphor here somewhere; and it’s a hopeful one.

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2 Responses to Dafydd’s voice

It really was a pleasure reading this from PACE's National Theatre Connnections Playwright Daffyd James.
I was very confused when I began to read, because of the picture. The idea of people congregating around a stone circle seemed quite outlandish but it was simply an important part of a different culture - the Eisteddfod (which I found out is pronounced eye-steth-vodd). Beginning in 1146 it celebrated being Welsh by honouring its culture, and what inspires me most about this celebration is that after all these years to present day such celebrated traditions have been retained and still continue to be praised.
As a person, Daffyd James is such an inspiration. Prior to involvement in PACE's Heritage audtions I researched into him and found a video posted by connections interviewing him where he talked of Heritage. Here is the link if anyone wants to view it...
http://www.youtube.com/watch?v=GJ_YREa5hoo
Many of the things said in the video resonated with me when I read the blog, such as him still thinking of himself as being young. To be honest I am similar to Daffyd I personally am afraid of growing up and losing my youth. I feel that young people give a different creative energy to work with which is why I like dramaworking at PACE as well as working with fellow youths closer to my age. As Daffyd said above the young people he has worked with give an insightful and queerer perspective of the world. If I had the chance to continue being a part of this highly reputed project I would hope to bring such qualities to aid my cast, director and show and to ultimately give National Theatre Connections the respect and professionalism it requires.
The individualism in Daffyd James is something also I feel should be noticed, as he praises that which he connects with most. Whilst he is inspired by his cultural heritage he praises that which makes society change and evolve by being different as in any case he sees it as nationalism. And, with these ideas of youth and nationalism he wrote his play, Heritage. Writing a play on that which he is artistically interested in or concerned about I feel is a way of further exploring them, so hopefully PACE too can help explore this.
This blog really has refreshed my views of the play... knowing why it was written through learning about the author is an important step in any case. Daffyds voice has been heard and understood.
Sheep 51

This post again gives the question , "what is your heritage?" Daffyd James here gives an insight to what he believes is his heritage, involving the welsh culture he lives in and the traditions he has been brought into. Does this mean that every character in the play relates to the playwright in this way? That they have the same heritage, and the traditions that they are used to for example the MayDay celebrations. Does each character truly acknowledge their heritage, or do they fall astray, losing their patriotism and loyalty to their heritage along the way? Is that why they are chosen?
The video is very helpful Sheep 51, thank you! It has really helped me understand the writers perspective and get persona. I too relate to Daffyd in the sense that I want to stay young forever. The thought of growing, not necessarily up as I lack in that department, but growing older is a fear that is constantly with me. I am scared of losing my youth, and have always had a dream of flying to Neverland where I can stay young. I feel that Daffyd has shown very well what growing older can do to people, as the characters in the play learn that as they grow they must accept and understand the harsh reality of life, which for them is ultimately that they have been chosen to die and this is only something they can realise as they mature.
The thought of a group of 13 year youngs being killed is one that truly horrifies me, but after reading this and watching the video I am beginning to understand that in this group of 13 year olds Daffyd has placed a very strong message, of being different, unity, acceptance, rebellion and defying those with power with the youth inside ourselves.
Looking to tomorrow with anticipation and an open mind,
Sheep 77.